Professional songwriters always have to grapple with the moment their songs are given to somebody else. Any composition can feel like someone’s creative child, so when it has to be given away, it’s like the artist in question takes a part of you with them when they sing those words. And for an artist as intrinsically linked to her music as Patti Smith is, she understood that some songs needed to fall by the wayside after a while.

Patti Smith has written a memoir that her publishers are describing as her “most intimate and visionary work” yet, which is due out this autumn. Bread of Angels will cover everything from Smith’s childhood in working-class Philadelphia and South Jersey to her rise as a punk rock star and her subsequent retreat from public life.

American singer-songwriter, poet, painter, author and human-rights advocate Patti Smith first found herself in New York during the hippie takeover of 1967, a politically charged summer of free love, activism and riots. She worked in two Manhattan bookstores, Scribner’s and The Strand, and wrote verse, which led to her forming the Patti Smith Group in which she fused her Rimbaud- and Blake-inspired poetry with the emerging punk rock scene.

"CORRESPONDENCES, the long-term audio-visual project by Soundwalk Collective and Patti Smith, documents the sonic footprints of poets, filmmakers, revolutionaries, and climate change across numerous global locations. Following last year’s release of Correspondences Vol I, they have today announced the release of Correspondences Vol II. Accompanying the announcement of the new 2-track EP, out March 21 via Bella Union, is the first fifteen minute track, titled “Children Of Chernobyl”. (...) It’s here, where the natural meets the unthinkable, that the story of Soundwalk Collective and Patti Smith’s CORRESPONDENCES continues. More ghostly still are the same words sung in Ukrainian at the song’s end by the Chernobyl Children’s Choir: “There are roses underfoot that one cannot smell / There is fruit on the vine that one cannot eat / And they went to bed hungry / And hungry they’ll sleep / For a thousand years.”"

Patti Smith will perform her debut album Horses in full on tour to celebrate the LP’s 50 anniversary. The tour will feature feature guitarist Lenny Kaye and drummer Jay Dee Daugherty, both of whom played on the original 1975 recording. (...) A press release notes, “Please join us to help celebrate the final ride of our irreverent thoroughbred.” The anniversary trek will kick off on Oct. 6 at Dublin’s 3Arena, with dates in Madrid, Bergamo, Brussels, Oslo, London, and Paris. Smith will head to the U.S. the following month, with shows beginning Nov. 10 at Seattle’s Paramount Theatre. The U.S. segment will also stop in Oakland, San Francisco, Los Angeles, Chicago, New York, Boston, Washington D.C., and Philadelphia. (...) The upcoming tour marks 20 years since Smith performed Horses live in its entirety for the first time. She initially revisited the album in 2005 for its 30th anniversary during Meltdown Festival in London, which she was invited to curate that year.

Correspondences is an ongoing collaboration between Soundwalk Collective and Patti Smith, spanning over a decade and traversing diverse geographies, histories, and natural environments.The presentation at kurimanzutto marks the first time this body of work is shown in New York and in a gallery setting. At its core, the project transforms field recordings collected by Soundwalk Collective’s founder, Stephan Crasneanscki, from some of the world’s most remote and resonant landscapes—sites of poetic inspiration, historical significance, and environmental urgency—into immersive soundscapes. These compositions evoke a “sonic memory” of place, embodying traces of revolutionaries, artists, and the ongoing impact of climate change. Through an intimate dialogue with these recordings, Patti Smith channels her poetic voice to create pieces that reflect on the intersections of nature, human history, and artistic creation. Each work challenges the traditional relationship between sound and image, allowing the sonic landscapes to dictate their visual counterparts.

As Tibet House’s highly-anticipated 38th annual benefit concert steadily approaches, the host organization has expanded its star-studded lineup with three new additions. On March 3, Rock & Roll Hall of Fame inductee, New York icon and longtime Tibet House advocate Patti Smith will return to perform at Carnegie Hall’s hallowed Stern Auditorium, alongside Grammy-winning Americana trailblazer Allison Russell and Emmy-winning co-star of The Bear Ebon Moss-Bachrach.

Smith, often referred to as the "Godmother of Punk," is not only a musical icon but a literary powerhouse. She's a unicorn artist who blends music, poetry, and visual art seamlessly, with her works spanning decades of cultural relevance. Best known for her 1975 debut album Horses, lauded as one of the greatest rock albums, Smith's rebellious spirit and intellectual lyricism have made her a key figure in the punk movement.The Rock & Roll Hall of Fame inductee is set to return to the Miami Book Fair this year to discuss her 2022 book, A Book of Days. It's an event she has been participating in as an author for more than a decade. Her most recent book is an intimate window into her daily life, featuring 366 photographs — one for each day of the year, including a bonus for leap year. [...] Each image is paired with a short reflection, combining the mundane with the profound, offering readers a glimpse into the mind of an artist who, in her own words, has "a permanent ticket down the rabbit hole," triggering the reader's curiosity and imagination.

Patti Smith continues to make waves in myriad pop culture and musical landscapes. Known for her iconic contributions as a singer, lyricist, artist and poet, Smith has collaborated with many creatives. Long after her explosion into the rock industry, she has continued to inspire forthcoming generations, leading her to be inducted into the Rock and Roll Hall of Fame. Her memoir, Just Kids, documents the triumphs and difficulties of moving to New York City in the late 1960s and early 1970s on her own. She carved out a substantial path for herself but that is not without suffering in its many relentless forms. It was there that she met Robert Mapplethorpe. The two of them together, experienced a connection that could be described as nothing less than a soul-tie. From difficult beginnings, the creative destined her own path – one that began with paper and pen.

At the Baryshnikov Arts Center, an adaptation of Smith’s poem-memoir “Woolgathering” features Smith reciting, others dancing and a surprise guest. “Woolgathering” is a slim collection of prose poems that Patti Smith, the singer-songwriter and punk pioneer, published in 1992. It’s mostly a memoir of childhood — of a poet’s childhood, or of the way that all children have a poet’s imagination. “The mind of a child,” she writes, “is like a kiss on the forehead — open and disinterested.” It is “mystified by the commonplace” and “moves effortlessly into the strange,” glimpsing and gleaning, “piecing together a crazy quilt of truths.”

Gentle dub reggae plays through speakers by the North Transept inside St Paul’s Cathedral, while ushers show people to their seats. Hosted by nightclub Fabric, this is an unusual collaboration for a 350-year-old place of worship better known for grand royal weddings, funerals and classical concerts. The seating area is packed to its 2000 capacity, as club kids mingle with a rock crowd, and there’s a palpable sense of anticipation. [...] Starting with spoken word lines from the poem Cry Humanity: “Blessed are the children who will rebuild our world”, Patti Smith moves into the tribal, hypnotic chant of Easter’s Ghost Dance. [...] Subtle, careful arrangements – like Shanahan’s plangent notes on the grand piano – become huge and resonant as they float to the cathedral walls.

On 4 October 2021, a sprightly Patti Smith—dressed in her customary attire: a white t-shirt with a black blazer, black trousers, and black boots—ambles onto the stage of the Royal Albert Hall as if having stepped out into a Parisian street after having been holed up in a garret for months on end writing. [...] Anyone slightly conversant with Patti Smith knows that she speaks out on environmental and governmental issues and personal strife. This, along with her seer-like qualities, screams a prophetic bard. Oh, and that she can write—well. Thus perhaps Smith was always destined to recite “Piss Factory” at the Royal Albert Hall, complete with the tincture of her blue-collar, South Jersey accent emphasising how far she has come. And, even if not, it still worked and lost none of its vatic meaning. Yet this is in recent history, not half a century ago when a twenty-eight-year-old sinewy Smith entered Electric Lady Studios to record “Hey Joe” and ended up with a take of “Piss Factory.”

There are certain long-established rules for describing Patti Smith. Google her name and the words ‘shaman’ and ‘priestess’ and you’ll see what I mean. For the best part of 50 years she’s been treated as though she’s a mystical object, a human convergence of ley lines, as much as a rock singer. [...] Her status as one of the progenitors of punk – and as a feminist hero – meant the crowd was startlingly varied in age, from teens to people as old as Smith herself (she’s 77), who were rapt and devoted. She remains charismatic – still in black jacket and jeans, as she has been for ever. Her voice was always idiosyncratic so age hasn’t affected it; she sang powerfully throughout. And she has not done the thing some older singers do, of surrounding herself with lots of musicians to bolster the sound.

There was a full moon out there somewhere, watching over us at Somerset House as the Patti Smith Quartet concluded this year’s Summer Series. The moon has been an enduring symbol in Patti’s world, with her career and personal life shifting like its powerful phases, so the July Buck Moon (and all the spiritual symbolism it holds) solidified an idyllic Patti Smith Quartet set. Opening with a rapturous rendition of ‘Summer Cannibals’, Patti’s charisma was immediate and magnetic, raspy drawls flitting in the space. It felt as though little time had passed since she and Fred “Sonic” Smith first conceived the song.

At Brighton Dome, 25st June, four songs into her set, Patti Smith starts to cry: “First tears of the tour!” she sighs, wiping her eyes. [...] At 77, however, Smith remains a genuinely compelling performer. Music seems to have a transformative effect on her. Between songs she’s far goofier than her reputation as the epitome of New York punk cool suggests, but once her band kick into the Velvet Underground-ish chug of Nine or a surging version of Pissing in a River, she appears to be genuinely transported. She dances with an enviable insouciance, and as her eulogy for Kurt Cobain, About a Boy, collapses into abstraction, she appears to be close to speaking in tongues.

Patti Smith headlines the upcoming Higher Ground Festival in London soon – details in ad at top of this page! To celebrate here is her in depth interview with John Robb in 2010 where she details her creative life in New York and with Robert Mapplethorpe in an emotional account that has tears, laughs, poetry.

When Patti Smith described her 1975 debut album "Horses" as “three-chord rock merged with the power of the word,” she was connecting herself to two artistic streams. First, there was the relatively simple “garage” sound of groups like Count Five, ? and the Mysterians, the Seeds, Chocolate Watch Band, etc., which she—and her longtime guitarist Lenny Kaye—felt epitomized the primal power of American rock. Second, she was asserting that the poetry of masters such as William Blake, Walt Whitman and Arthur Rimbaud, and their 20th century acolytes Allen Ginsberg, Lawrence Ferlinghetti and Charles Olson, could be spiritually integrated into music that would aspire to literary heights. As Bob Dylan, Leonard Cohen, Jim Morrison, Robert Hunter and other Smith-approved poet-composers had already proven, lyrics could be literature.

Correspondences is an ever-evolving project between Soundwalk Collective and Patti Smith. Spanning over 10 years, it traverses a wealth of geographies and their natural environments, where the artists have uncovered sonic steps left by poets, filmmakers, revolutionaries, and the impact of climate change. Soundwalk Collective’s founder, Stephan Crasneanscki, has explored, captured, and collected the world’s remotest places in sound to awaken a sonic memory within the landscape, uncovering traces of past and current histories of the world we are living in. The resulting compositions are made of sound that reflects our relation to this world, the environment, the soul of our existence, and the creative process of the artist.

In "Turn in the Wound," long-time filmmaker Abel Ferrara intertwines clips of U.S. singer-poet Patti Smith's performances in Paris with the testimonies of ordinary Ukrainians about Russia's invasion and grainy videos taken mid-battle by unnamed fighters [...] Patti Smith's unmistakable voice reads out work by French avant-garde artist Antonin Artaud as on screen, the viewer follows a Ukrainian soldier through a point-of-view camera, appearing almost video game-like as he moves along a smoky field at dawn.

In 1967, Patti Smith set off to New York with little more than a copy of Arthur Rimbaud’s Illuminations in her suitcase. “We would escape together,” she wrote in her memoir, Just Kids. Smith’s love affair with Rimbaud, the 19th-century French Symbolist poet, shaped her affection for literature and, subsequently, spurred her on to become a writer. “Rimbaud held the keys to a mystical language that I devoured even as I could not fully decipher it. My unrequited love for him was as real to me as anything I had experienced,” Smith wrote. “It was for him that I wrote and dreamed. He became my archangel, […] His hands had chiseled a manual of heaven and I held them fast.”